Designed by Riley Blake and in her “Lovey Dovey” collection, it is certainly “heart” oriented, but not so much that it is restricted just to February 14th. I bought 3 yards and tucked it away for the day when my youngest granddaughter no longer needed to be in onesies. Well, guess what? That is this year!

I picked up this Butterick pattern as I really liked view CE on the left, and set about to make matching PJs for my two little girls.

One of the nice design details is the longer shirttail back of the pajama top. This makes it easier to tuck in if desired.

I’m very glad I have so much experience working with not enough fabric! I had to get very creative with the placement of the pattern pieces, and I was still a little short. I solved the problem by making the undercollars out of plain white flannel (which I had on hand.)

I don’t own a serger, so to finish the seams and make them extra sturdy for many washings, I made flat felled seams throughout.

I also added elastic to the sleeves and to the pajama pants legs, to help keep the cold air out and the warm body heat in.

The fabric is so busy that I knew it did not need much embellishment, but I can never resist a little bit of rick rack, so I added a small flourish to the collars, applying it free-form.

When I “auditioned” the fabric for buttons, pink and red ones simply did not add any interest, so instead I chose to pick up the contrasting aqua.

What fun to make something so simple, but so cute!

Wrapped up in festive paper, off they went across the miles…

May your Valentine’s Day be cozy and sweet and a celebration of some of life’s simple joys!

Dresses – and garments in general – with back interest have always intrigued me. The addition of a simple back belt can add so much to a coat design, for example, and a yoke in the back of a dress can be the perfect place to add complimentary buttons which might not have a place on the front of the dress. Perhaps it was this reason why I was drawn to this Advance pattern, which I found in an Etsy store.

I hesitated for quite a while before buying it, as I just wasn’t so sure the gathered back skirt on this dress would look as good on me as it looked on the pattern envelope. I also did not want a “dated” or “too cutesy” look. But finally I gave in and made the purchase. The buttoned back and the dropped back waist were two details which really appealed to me, as well as the sleek sheath look of the front of the dress. I also knew that the right fabric could work wonders, and I bought the pattern with this gray and blue polka dotted wool/silk blend in mind.

Then, there is always that steadfast fall-back, as well – making a muslin (toile) and if it really doesn’t work, then just scrapping it! What could I lose besides a few yards of cheap muslin and a few hours of time?

I had never used an Advance vintage pattern before, so I was interested to see how one would make up. I was impressed! The pattern pieces went together very precisely, and, in particular, the flounce, or gathering, at the back of the skirt was not overdone. The only initial change I made to the pattern before cutting out my muslin was to lower the bust dart, which I always have to do. Once I made the muslin, it was a little snug across the front, so I added ¼” to either side seam. As it turned out, I needed the extra width just across the midriff area, and ended up taking out quite a bit of extra width from the waist down.

Some pictures of my muslin.

While I was working on the muslin, I was in a quandary over the buttons. I had to have them before I could start work on the fashion fabric because of those pesky, but beautiful, bound buttonholes, which are one of the first things to go in. Nothing I had on hand was right and after a very brief dalliance with the thought of blue buttons (what was I thinking, even briefly??), I knew gray mother-of-pearl buttons were what was needed. As luck would have it I found a set of six 5/8” buttons in an Etsy shop, which were described as blue-gray mother-of-pearl. As soon as they arrived in my mailbox, I knew they were perfect.

By this time I had transposed the muslin onto white silk organza, made my working pattern, basted the fashion fabric and the organza together, and ordered marine blue crepe de chine from EmmaOneSock for the lining.

For those of you who asked, here is a picture of the silk organza being used as the pattern. When cut out, the two are basted together by hand along the seam lines, dart markings, and hem lines and then handled as one piece.

I also used silk organza patches for the facings for the bound buttonholes.

Here the facings are turned towards the inside. Proper measuring is essential for this technique to be successful.

The back of the dress during construction.

Although the pattern called for lining only the skirt back, I wanted to fully line the entire dress. The pattern for the back skirt lining is shown here in the thumbnail diagram:

It was cut narrower than the skirt back, with darts for shaping rather than gathering. I had to make a decision about how to complete the lining – should I attach it to the waist seam at the back and somehow join the front to the back at the side seams, or should I make the lining as a completely free-falling piece? I opted for the latter, with the sleeves, of course, being inserted separately. It worked beautifully. Then, for some extra detail, I added a contrasting flat piping to the edge where the lining meets the facing.

I had this coral colored silk bias tape which I chose to use for this extra detail.

Often facings are eliminated in couture sewing, but in this case, with the buttoned placket in the back, I decided to keep the facings so the buttonholes and buttons would have a firmer foundation.

This dress turned out to be all that I wanted – a classic slim sheath from the front, with surprise back detail which (I think?) is flattering, adding extreme comfort to its wearing, and which sets it apart from the average design.

Coming and going, it feels like a good way to start off the new sewing year .